‘Inside Llewyn Davis’ actor Oscar Isaac has been recording music with Timberlake for the ’60s folk flick. By Jocelyn Vena “W.E.” star Oscar Isaac is deep in musical preparations for the next Coen Brothers film, “Inside Llewyn Davis,” in which he’ll play the title character. In a couple weeks, Isaac and his castmates, including Justin Timberlake , Carey Mulligan and Garrett Hedlund, will be on set, but until then they are in the recording studio putting the finishing touches on the film’s musical elements. “Right now I’m gearing up for the Coen Brothers film, which is all music based,” he told MTV News at the New York premiere of the Madonna-directed “W.E.” “So that’s actually taking up a lot of the musical creative energy. So excited.” Isaac, much like his co-stars, has dabbled in music, having put off recording his own music to focus on the film. And with some assistance from some big-name musical heavyweights, the music is destined to shine. The actor said the cast is currently in the studio with Timberlake, the Punch Brothers, T-Bone Burnett and Mulligan’s fianc
Director Mark Romanek ‘s dystopian sci-fi romance Never Let Me Go never seemed to quite receive its due when it was released in 2010 and subsequently written off as a commercial disappointment. But many found the restrained Kazuo Ishiguro novel adaptation gorgeous and hauntingly heartbreaking, among them New Beverly Cinema programmer Julia Marchese, who recently wrote about her quest to bring Romanek and his film to screen in Los Angeles for a two-night engagement that starts Wednesday, January 11. For Marchese and fans of the film, the booking is more of a coup than it may seem at first glance; deemed an underperformer weeks into its original domestic limited run, Never Let Me Go wound up floundering in subsequent weeks despite its built-in literary audience and roster or rising stars (Andrew Garfield, Carey Mulligan, and Keira Knightley), to the dismay of distributor Fox Searchlight. (The film exited theaters with a $2.4M domestic total, though it tallied another $7M worldwide.) Still, it’s a bit of a shock to hear of the difficulties Marchese encountered when she tried to book a print of the film for the New Beverly (which, recall, remains dedicated to screening 35mm ) only a little over a year after its initial release. From Marchese’s blog : I have been championing the film since its release, begging friends and neighbors to see it. I wanted to play it at the New Beverly as soon as possible, but Fox Searchlight told me that out of all of the hundreds of prints made, only two remained. One was irreparably damaged, and the other on long-term loan to a cruise ship. Whether they were telling the truth or not, I can’t say, but I will say that I am completely overjoyed that we will finally be showing it at the New Bev on January 11th and 12th with (schedule permitting) director Mark Romanek in attendance both nights. Fox at large is one of the studios pioneering the obsolescence of film prints in favor of digital, but the reality is still startling. Two remaining prints, and one damaged beyond repair, for a film shot deliberately on film that possesses such a romantic visual world, even in its careful austerity. Luckily, it seems that only intact print has finally departed its cruise ship confines and will screen Wednesday and Thursday (Jan. 11-12) with Romanek in person. Romanek, meanwhile, has chosen another ascetic but moving sci-fi romance to play in a double feature with his film: François Truffaut’s 1966 film Fahrenheit 451 . A great pairing if you ask me, and with Romanek in person there should be ample opportunity to ask how much he sees in the juxtaposition of not only the films’ surface commonalities but in the idea that to some devotees, the phasing out of celluloid might be only a few shades removed from the burning of books. Visit the New Beverly website for more information; for Julia Marchese’s full blog entry, head here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter . [ Julia Marchese’s Blog , New Beverly Cinema ]
…But you’ll be the one leaking when you get an eyeful of these pics! Thanks to an anonymous online source, you can now ogle Carey Mulligan ‘s full-frontal debut in Shame (2011) without also getting an eyeful of Michael Fassbender ‘s Fassdong. Not that there’s anything wrong with that, it’s just…that’s a whole different blog, man. See the pics after the jump!
Here is Carey Mulligan in a bra on the cover of a magazine like some kind of slut who wants the world to see her in a bra – you know maybe to get back at an ex bf who left her for another girl before she was famous in a “look at me know” hustle…or maybe cuz her dad never hugged her and she has a need to be seen and get noticed to fill that void….I couldn’t tell you cuz this is about all I know of this bitch…and I’m not about to do any background research cuz she doesn’t matter….nothing matters…it is xmas…go fuck lonely sluts….stop jerking off on the internet…
So Baz Luhrmann beats on, boats against the current, borne back ceaselessly into 3-D. In the first photos from his splashy new The Great Gatsby adaptation, stars Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, and Joel Edgerton vamp it up like humorlessly obsessed guests at a murder mystery dinner party. Anybody else find the casting here a bit too pat and obvious? Leonardo DiCaprio is a… a moneyed and aloofly self-interested man! Tobey Maguire is… a nervous, kowtowing outsider! Carey Mulligan is… the new Mia Farrow again! Well. Check out the images for yourself and see if I’m too cynical.
Carey Mulligan says she took a lot of risks when filming her nude movie Shame , and going full frontal in a shower scene wasn’t the worst of it. Her biggest challenge? Belting out “New York, New York” in a nightclub scene (Carey’s character is a struggling cabaret singer): “It’s scarier to sing than to do nudity,” Carey told E! News at the Hollywood Film Awards. “Singing is like really exposing yourself. I was playing sort of a singer, so I was pretending to have a talent I don’t necessarily believe I have. So singing was quite scary.” But Carey isn’t quite so timid when it comes to speaking out on Shame ‘s NC-17 rating , a distinction that is usually considered “the kiss of death” for a film thanks to restrictions on advertising and distribution. But Shame ‘s distributor, Fox Searchlight , is aggressively supporting the film’s edgy content, and so its its star: “I knew that [director Steve McQueen] would never cut anything,” she says in a new interview with HitFix. “I do think it’s sort of an absurd contradiction with the amount of — I mean it’s such an obvious point — but the violence that we see in slasher films and horror films. That’s perfectly acceptable and then the naked body and sex is such a big deal.” Carey goes on to reminisce about the good old days of movie nudity (aka the ’70s), a subject that’s very close to Mr. Skin’s own hard-on: “Nudity was so prevalent in the 70s,” she said. “You know, so many of the teen movies will have so much sex and so many people walking around in bikinis and bare-breasted and that all seems to be okay. And then the minute you show it and its not funny, and it’s not sexy, and it’s actually unattractive, then it becomes a problem, which seems so odd.” We doubt that your bare flesh could ever be unattractive, but we’re with you, Carey. Wanna come over and watch H.O.T.S. (1979) sometime? Members can see more from Carey Mulligan right here at the Mr. Skin blog!
Nick Douglas of Slacktory takes a look a how Siri reacts to philosophical questions when you get her high. Broadcasting platform : YouTube Source : Laughing Squid Discovery Date : 01/11/2011 16:31 Number of articles : 2
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